Christ & Gantenbein, Drawings for Swiss National Museum, Zurich, Switzerland, 2016
nickkahler reblogged
Damien Hirst, Black Scalpel Cityscapes, 2014 (via ryanpanos)
"Renowned British artist Damien Hirst reveals a new collection of paintings for an exhibition at white cube gallery in São Paolo. the ‘Black Scalpel Cityscapes’ — described by the artist as ‘portraits of living cities’ — are comprised of surgical instruments, arranged in compositions of a bird’s-eye map view of urbanized sites. Both the built world and natural elements are depicted with scalpels, razor blades, hooks, iron filings and safety-pins, and set against black backgrounds. The 17 cities included in the exhibition are either sites of recent conflict, places relating to the artist’s own life, or epicenters of economic, political or religious significance — Washington D.C.; Rome and Vatican City; Leeds (where Hirst grew up); Beijing; Moscow; New York; and London."
nickkahler reblogged
Ryszard Winiarski, Obszar 162, 1973 (via grupaok)
AP Studio Art Exam
The AP Studio Art Exam evaluates High School students based on three objective criteria:
- Quality: Overall Significance of the Works
- Concentration: Ability to Explore an Idea
- Breadth: Ability to Use a Variety of Artistic Techniques
The Category of Breadth is further subdivided into the following characteristics:
This evaluative criteria presupposes a defined scope of the creation of art itself, and curiously provides a critical filter to established artists on how to compare their works with others. Quality and Concentration seem to be innate criteria used by artists in the self-evaluation of their own work, but Breadth seems to be a category manipulated ad hoc relative to the given examination being undertaken by the artist. Thus, significant works of art, such as that of Ellsworth Kelly for example, may disregard many of these "Breadth" characteristics in favor of the specific introspection of an artistic idea. However, even the work of someone as abstract as Piet Mondrian can exhibit each of these characteristics to a surprising degree, which is nothing to say of the Old Masters, such as Johannes Vermeer or Caravaggio. However, like much of contemporary culture, we feel the need for several paradoxical situations:
- Objective Examination of Subjective Work
- Over-categorization and Over-classification
- Sequence of Predetermined Pedagogical Milestones
- Limited Conception of Artistic Paths
- Indifference to History and Theory
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Plan of the Caves at Elephanta, India, c. 700 CE
For, if the appreciation or perception of object or figure is assumed to require the presence of some sort of ground or field, if the recognition of some sort of however closed field is a prerequisite of all perceptual experience and, if consciousness of field precedes consciousness of figure, then, when figure is unsupported by any recognizable frame of reference, it can only become enfeebled and self-destructive.
Colin Rowe and Fred Koetter, Collage City, 1978
Colin Rowe and Fred Koetter, "The Crisis of the Object: Parma and Antwerp" from Collage City, 1978
How is it that human beings, equipped with two eyes see a single world? … Art (as well as perception under almost all conditions) has to deal with the organization of the visual field into figure and background.
nickkahler reblogged
Hugh and Walter de Lacy, Lords of Meath, Keep Plan of Trim Castle, Trim, Ireland, c. 1200 (via archiveofaffinities)
nickkahler reblogged
Christopher Christophi, Venice vs. Invasive Algae, c. 2011 (via archidose)
'While the city of Venice fights a battle against the sea, the Venetian lagoon fights a different battle with invasive algae. This map by Christopher Christophi shows algae growth around the islands of the lagoon, 2011.'
Source: futuresplus.net